Based on a survey of 489 documentary filmmakers by Patricia Aufderheide and Aram Sinnreich, the survey finds that a great majority of documentary filmmakers understand fair use, find it valuable in their work, and have had no trouble with acceptance by broadcasters, lawyers or insurers. Read more...

The Center for Media & Social Impact has begun a research project funded by the John D. and Catherine T. MacArthur Foundation on the problems filmmakers face when they tackle deep-pocketed, powerful subjects – whether governmental or corporate, national or international. We are interviewing filmmakers, lawyers, insurers, broadcasters, and investigative journalists to find out how filmmakers can protect themselves when making these "dangerous docs." Read more...

A new generation is going to see the fabled documentary "Dream Deceivers," because its director employed fair use.

Back in 1992, David Van Taylor ("A Perfect Candidate," "Good Ol' Charles Schulz") went behind the scenes of a notorious "heavy metal/suicide" trial for his first film. Two young men had shot themselves, and their parents sued Judas Priest, claiming the youths were mesmerized by subliminal messages. The masterfully-edited documentary was a look inside the vortex of moral panic.

The great “intellectual piracy” debate is generally conducted without data, but a recent example provides an intriguing case study. Communication scholar Aram Sinnreich writes about piracy and copyright. His latest book, The Piracy Crusade, argues that the music business’ fight against downloaders has been bad for business and for creative expression.Read more...

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Fair Use at Work in the Visual Arts

Assessing fair use in light of shared professional understandings is a respected practice. Invoking professional practices provides members of a community with a clear framework in which to apply fair use with confidence, knowing the shared norms of their field. Having a code of best practices allows them to share their common understandings with others.